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Somethin' Else

Somethin' Else

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This is the Jazz I love. “Alison’s Uncle” is the only song on this release that did not strike a chord with me [and that was because of the brassy drumming], but that’s just my taste ... this music is so cool, and so smooth that it is infectious ... working it’s way into the mind, body and soul. As brilliant as each note is, those same notes seem understated, floating like smoke, sustained just long enough for rhythmic perfection. Trying to find something you don’t dig on this album is just what you are going to have to do ... but I don’t believe that you’ll have much success. As Leonard Feather’s original liner notes stated, “For those not familiar with the latest in terminology, that the title number of the Miles Davis original, which also provided the name for this album, is a phrase of praise. And if I may add my personal evaluation, I should like to emphasize that Cannonball and Miles and the whole rhythm section and, indeed, the entire album certainly can be described emphatically as ‘somethin’ else.’” Brown, Geoffrey F. (August 28, 1975). "The Cannonball Rests, But Brother Nat Carried On". Jet. pp.58–61. However, the title was incorrectly listed as ‘Alison’s Uncle’ as prior to the session Nat Adderley’s wife had given birth to a daughter named Alison, and thus Cannonball became Alison’s Uncle.

a b c "The Cannonball Adderley Biography". Cannonball-adderley.com. September 15, 1928 . Retrieved July 21, 2017. Listen to Davis play the well-worn standard “Autumn Leaves” that opens the set. He treats the theme the way a painter would, outlining it faintly in some spots and splashing it with bright, audacious colors in others. He darts around, surfing the shadows, and somehow maintains vital connection with the steady cadences of the tune. Through the choices he makes about notes and accents and phrasing, he establishes the size of the canvas, the temperament of the tune. That’s not all: His clear lines create a common understanding that spreads across the bandstand, slyly shaping the entire performance. Adderley begins his solo from deep inside a noodlebowl of notes, and then changes course, carving out ideas that are much more disciplined. Adderley’s huge alto sound is normally full of moxie, exuberance and celebration; there’s some of that here, but along the way he also follows the hints that Davis left, sketching passages of profound wistfulness and longing. Jazz has no place for stagnation. I know one thing for sure. You can’t repeat yourself night after night when you’re working with Miles Davis. Miles and Coltrane are creating all the time and the challenge is tremendous…Miles group is at is should be. It’s a laboratory. New and exciting music is played each night… I learn so much being around him.” The album closes with a ballad in ‘ Dancing In The Dark‘ byHoward Dietz and Arthur Schwartz. Miles sits this one out, and Adderley treats us to a beautiful reading of the tune, and equally gorgeous solo to match. His interest as an educator carried over to his recordings. In 1961, Cannonball narrated The Child's Introduction to Jazz, released on Riverside Records. [6] In 1962, Cannonball married actress Olga James. [2] Band leader [ edit ]A.B. SPELLMAN: Cannonball is a musician who can play a whole lot of notes and so will put together very complex phrases. What Cannonball does here is sort of compromise his phrasing for Miles' seriousness of selection, and it works very, very well. Miles follows on muted trumpet and his solo is a beauty. A model of restraint, his solo is economy in motion, throwing the alto solo into stark relief. This restraint and is then imposed on Hank Jones who also produces a solo that is devoid of any superfluous notes or gestures. Mercy, Mercy, Mercy – Cannonball Adderley – Song Info – AllMusic". AllMusic . Retrieved August 1, 2018.

The same phenomena happens in music: It is far easier to follow a theme when it is rendered cleanly and with conviction, when care is taken to convey the shape and the meaning and the mysteries lurking behind the notes. The jazz musicians who headlined in the 1950s understood this: Led by Miles Davis, the taciturn trumpet prophet who conveyed heartbreak (along with a zillion other emotions) in highly distilled two and three note codes, they developed an aesthetic of carefully considered austerity. In this scene, clarity was prized. Core truths expressed cleanly ruled over everything else – including, crucially, flashy bebop displays of technical prowess. Havers, Richard (March 9, 2021). " 'Somethin' Else': Cannonball Adderley And Miles Davis' Musical Discourse" . Retrieved July 14, 2021. A.B. SPELLMAN: Yeah, this is Miles' composition, "Somethin' Else," and it does have that kind of antiphony, that call and response that was at the very root of jazz. Jazz started here, in a manner of speaking. And so the voices, which are almost human voices, in a way, are of two guys who have a lot to say to each other. It's a very relaxed conversation, but it's a meaningful conversation as well. From the rather austere opening chords from pianist Hank Jones and the horns, to the melancholy statement of the theme by Miles to Adderley’s effervescent solo with his blues drenched alto sound.

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Manhattan Records, a Division of Capitol Records, Inc.; 1370 Avenue of the Americas; New York, NY 10019 (differs from Cannonball Adderley - Somethin' Else in that does not state "Printed in France"). Cerulli, Dom (27 November 1958). "Review of Somethin' Else" (PDF). DownBeat . Retrieved 20 November 2023.

Tirro, Frank (2000). "Adderley, Cannonball". American National Biography. Oxford University Press. doi: 10.1093/anb/9780198606697.article.1801933 . Retrieved October 7, 2022. He arrived fully formed as a vibrant and mature alto stylist who would go on to record on some of the most influential albums in the history of the music, and not to be mention some classic albums under his own name too. The piece plays out with muted trumpet reprising the theme before one again the opening chords return albeit with a lighter feeling to draw the piece to a close. Davis seems t have the final word with a second soloas the piece concludes. Following in their footsteps, Adderley also taught and becameband director at Dillard High School in Fort Lauderdale until 1950.Julian Edwin Adderley was born on September 15, 1928, in Tampa, Florida to high school guidance counselor and cornet player Julian Carlyle Adderley and elementary school teacher Jessie Johnson. [7] [8] Elementary school classmates called him "cannonball" (i.e., "cannibal") after his voracious appetite. [7] Adderley was initiated as an honorary member of Phi Mu Alpha Sinfonia fraternity (Gamma Theta chapter, University of North Texas, '60, and Xi Omega chapter, Frostburg State University, '70) and Alpha Phi Alpha [20] (Beta Nu chapter, Florida A&M University). Like Parker, Adderley had an outstanding technique on the his instrument and a tone that was shot through with the blues. There was also a soulful edge to his playing that would, in later years, soften the hard bop language into the gospel and soul influenced jazz of the sixties. Randel, Don Michael (1996). "Adderley, Cannonball". The Harvard Biographical Dictionary of Music. Cambridge, Massachusetts: Harvard University Press. p. 5. ISBN 0-674-37299-9. The truth is perhaps rather different with the benefit of hindsight, and knowing how the careers of each of the two musicians would develop in the years that followed.



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